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i                        BYZANTINE ARCHITECTURE      '                 29
is very common in Turkish buildings. Internal cornices and string-courses are in marble^ and are all of the same type, a splay and fillet. The splayed face is decorated with upright leaves or with a guilloche band, either carved (in the Pantepoptes) or painted (in the Chora)5 the carving as in classic work, serving only to emphasise the colour. The splay is sometimes slightly hollowed, sometimes, as in the Chora, worked to an ogee.
Doors.—Doors often have elaborately moulded architraves and cornice.    In S. John of the Studion (p. 61), the oldest example, the jamb-moulding has a large half-round on the face, with small ogees and fillets, all on a somewhat massive scale.    The doors of S* Sophia are very similar.    The later mouldings  are  lighter   but   the  half-round   on   the  face remains  a prominent  feature.     It  is  now undercut and reduced in size, and resembles the Gothic moulding known as the bowtell.    This is combined with series of fillets, small ogees, and cavettos into jamb-moulds of considerable richness.    The cornices are often simply splayed or are formed of a series of ogees5 fillets^ and cavettos.    The jamb-mouldings are cut partly on a square and partly on a steep splayed line.    In some, the portion forming the ingo seems to have been regarded as a separated piece though cut from the solid.    If in the doors of the Pantokrator or the Pantepoptes the line of the inner jamb be continued through the rebate3  it will correspond on the outside with the bow-tell moulding, as though the inner and outer architrave had been cut from one square-edged block, placing the bowtell at the angle and adding the rebate.    This formation is not followed in S. John of the Studion.
Carving.—Carving is slight, and is confined to capitals, string-courses, and the slabs which filled in the lower parts of screens and windows. Fragments of such slabs are found everywhere. They are carved with geometrical interlacing and floral patterns, often encircling a cross or sacred monogram, or with simply a large cross. Such slabs may be seen still in position in S. Sophia and in the narthex of S. Theodore. In the latter they are of verd antique, and are finely carved on both sides. In later times the embargo